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12. 马克·夏加尔 莫扎特《魔笛》舞台幕布 高清作品[87%]

Stage curtain for Mozart\'s \'The Magic Flute\'

图片文件尺寸 : 5100 x 4919px

MARC CHAGALL: Stage curtain for Mozart\'s \'The Magic Flute\' (Finale)
Created with the collaboration of Volodia Odinokov
casein, aniline and gold-leaf on linen
526.5 x 780 in (1337.31 x 1981.2 cm)
Designed, created and painted by Marc Chagall in 1966-67; Executed and painted by Volodia Odinokov in 1967

马克·夏加尔 莫扎特《魔笛》舞台幕布

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14. 卡拉·阿卡尔迪，当代艺术I 高清作品[65%]

DO-Carla Accardi - 现代艺术 I
图片文件像素：5224 x 4132 px

卡拉·阿卡尔迪，当代艺术I-

Carla Accardi * - Zeitgenössische Kunst I-

(Trapani 1924–2014 Rome)
Bluviola, 1972, signed; signed and dated on the reverse, casein on canvas, 60 x 68 cm, framed

This work is registered in the Archivio Accardi Sanfilippo, Rome and is accompanied by a photo certificate signed by the artist, Studio Accardi, Rome

Provenance:
Sale, Finarte, 28 March 1995, lot 105
Galleria Russo, Rome (stamp on the reverse)
European Private Collection

Literature:
G. Celant, Carla Accardi, Charta, Milan 1999, p. 339, no. 1972 22 with ill.

More than colors I have always loved the way they match, as well as the light they give off. Even my white-black phase was a period of light, this contrast, just like in my mother’s saltworks in Trapani, a truly blinding sort of light.

When I used red with green, and sometimes even pink with light blue, the two colors had to have the same strength and couldn’t be complementary.
This way they struggle against one other and create light.
Carla Accardi in A.M Boetti, Lo specchio ardente, in Data, Milan no. 18, 1975

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15. 卡拉·阿卡尔迪，当代艺术I 高清作品[58%]

DO-Carla Accardi - 现代艺术 I
图片文件像素：5930 x 4411 px

卡拉·阿卡尔迪，当代艺术I-

Carla Accardi * - Zeitgenössische Kunst I-

(Trapani 1924–2014 Rome)
Untitled, 1954, signed and dated; signed and dated again on the reverse, tempera (casein) on paper laid down on canvas, 68 x 32 cm, framed

This work is registered in the Archivio Accardi Sanfilippo, Rome and is accompanied by a photo certificate signed by the artist, Studio Accardi, Rome

Provenance:
Sale Nuova Brerarte, Milan, 11 December 1990, lot 71
European Private Collection (acquired from the above)

Note:
The paper was laid down on canvas directly by the artist as evident also from the signature and the date on the reverse.

Yes, 1954 was a critical year, but my first works featuring the sign, which I made on paper, were born in 1953. The meaning behind this choice, my surrender to the sign, which was basic at first and structural later, no doubt emerged from the idea artists have always had about contemporary art, about culture in their time.
Although I wasn’t studying mathematics or anthropology, Structuralism was a topical discovery all the same, something that exhisted in the Western world.
I bestowed an image on the Structuralist vision of the world; a visual image that bore all the components: events, the aggregation of signs were repeated in my paintings with phenomenic variations: but always faithful to themselves and repeatable.
Carla Accardi interviewed by Vanni Bramanti, in V. Bramanti, Conversazione con Carla Accardi, Rome 1982

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